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The Kenyon Review

Read the winning piece of our 2025 Nonfiction Contest “Through the Mirror” by Jessie Cato selected by Lucy Ives.

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Summer 2013

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Volume VI, Number 3

Poetry

Krystelle Bamford

The Second Wedding
Bruce Bond

The Invention of the Cry Track
Ash Bowen

Wolf
Devon Branca

Game Length (Part Three)
Carol Frost

Appetite
Jerry Harp

Encounter
Rebecca Hazelton

In the Garden, After; The Room Where There is Still Love
David Hernandez

Comment Thread in Response to “100 Best Flowers of the Year”
Janine Joseph

Swarm; Leaving the Nonprofit Immigration Lawyer’s Office
Mark Kliewer

The Garden of Earthly Delights; Trees are Lying their Asses Off
Gellu Naum translated by MARGENTO and Martin Woodside

From “The Animal-Tree”
Irma Pineda translated by Wendy Call

Death Surprised You

Fiction

Matthew Baker

“Here, Among the Black Sand Beaches of Kupang”: A Century of the American Word Industry in Review
J. A. Bernstein

The Killer
Chelsea Bolan

Vodník
Olivia Clare

Rusalka’s Long Legs
Chris Drangle

Kink
Micaela Maftei and Laura Tansley

The Reach of a Root
Kathryn Martins

UNFINIShed
Sam Nam

Do Something, Anything
Christa Romanosky

Sex Education
Gabriel Urza

Last Indian Massacre

Essay

Brian Doyle

A Note on Learning Gaelic
Bonnie Levinson

Sun on Your Back
Alex Miller and Boris Deliradev

Letters to and from Bulgaria
Ales Steger translated by Brian Henry

Teufelsberg
Peter Trachtenberg

Tomorrow and Tomorrow

Review

Jeremy Bass

Dark Luminosity: Laura Kasischke’s Space, in Chains
Kristen Evans

On Rusty Morrison’s Book of the Given
Andy Frazee

Homing in: Peter Gizzi’s Threshold Songs
Jessica Freeman-Slade

Quicksilver Memories of an Invented World: Lauren Groff’s Arcadia
Morgan Fritz

Negative Capabilities: Hugh Sheehy’s The Invisibles
Anna Journey

Bring Out Memory’s Erotica: On Beckian Fritz Goldberg’s Egypt from Space
Emilia Phillips

Becoming Feral: a Review of Paisley Rekdal’s Animal Eye
Hilary Plum

The Ballad Form: Kate Greenstreet’s Young Tambling
Ben Purkert

Spiraling to the Point: Sally Keith’s The Fact of the Matter
Rachel Richardson

Lucille Clifton’s Expansive, Collective “i”